There’s a line in Niyi Osundare’s 2011 book that goes, “Enia lasoo mi,” which translates from Yoruba to English as, “People are my clothes.” Waking up to a seemingly emptied New Orleans, Christopher Romaguera had that line on his mind.
In Yuri Herrera’s 2009 novel, borders can be impenetrable surfaces, and language can open doors that can’t so easily be locked back.
Keeping the stories, the myths, the facts, and the losses of the Cuban people alive is important. Telling these stories is an act of active resistance against the washing away of the Cuban people who have toiled under colonizers and dictators.
When I read Laymon’s recent memoir, I had a visceral reaction. It reminded me why I started writing. It made me wonder if my writing reaches my peoples and keeps us revising and growing in our stories. If writing protects us from the silence of memories lost.
What the narrator of Maurice Carlos Ruffin’s debut novel doesn’t fully comprehend is that he is worried about his son inheriting trauma from him. Inheriting something that cannot be wiped away.
Living under a dictatorship means watching your homeland, your home, catch fire. You can leave and hope that all your loved ones make it out too, or you can stay and fight, hoping you don’t die from the burns—under a dictatorship, no one gets away.
I read Bryan Washington’s debut short story collection as I helped my family pack up my childhood home in Miami. I had moved to New Orleans over eight years before—close enough to drive back down, but still three states and a world away.
Gabino Iglesias’s recent novel revolves around multiple characters journeying through la frontera, the border between the United States/Mexico. In each of the characters’ stories, however, there are multiple journeys being made, multiple borders being crossed, and as their stories progress, what they're striving for is less and less clear.
In Patricia Engel’s 2016 novel, a family, having been exiled from Cartagena, Colombia to the United States, is separated from their country by a vast gulf. But the ocean doesn’t just act as a barrier—it is also the scene of the traumatic event that the protagonist’s life revolves around.
Juan Gabriel Vásquez’s third novel is a story about how trauma flashes, like lightning, but then crashes and reverberates throughout one’s life more slowly, like thunder.